CHONGQING, Sept. 20 (Xinhuanet) -- Only sporadically emitting good films, China's languishing film industry has stimulated vociferous appeals for revitalization.

    China marked the 100th anniversary of the birth of film in the country this year, refreshing the nation's memory of thriving periods in Chinese film in the 1940s, 1950s and 1980s.

    A large number of excellent films that made deep impacts have influenced Chinese film viewers generation after generation.

    For examples, the Water of the Spring River Flows Eastward, shot in the 1940s, A Family Beaming with Pleasure, and A Herdsman, shot in the late 1970s and 1980s, have taken roots in the collective Chinese heart.

    With the increasing globalization of the film industry, the refinement of viewers' tastes and the changing of the management of film production, however, the country's film sector has been left kneeling at a crossroads.

    It is impossible for China to learn from Hollywood, whose film production demands huge investment and high-tech visual effects.

    Moreover, the difference between eastern and western culture makes imitating Hollywood a clumsy and awkward undertaking.

    Copying Hong Kong and Taiwan films will also lead China's film sector down a blind alley, as such films emerged in idiosyncratic circumstances.

    What then is the way out for Chinese film? The answer lies the context, the zeitgeist, the present stage of economic development, realism and the incorporation of advanced film shooting techniques, and modern expression and managerial modes.

    While drawing nourishment from Hollywood, Chinese film should strive to blaze a new path. Western, Hong Kong and Taiwanese filmsshould serve only as inspirations.

    The films to be produced should be rich in elements deeply-rooted in Chinese culture and its unique national spirit. "Red Sorghum" and "Hero" shot by famous Chinese director Zhang Yimou, are two fine examples of authentically Chinese cinematic genius.

    The work of Chen Kaige, characterized by epic plots, and the trenchantly humorous films by Feng Xiaogang, are also examples of sublime Chinese film.

    Ultimately, however, films rely on viewers for their existence.Film risks death if it breaks away from the concerns of the masses.

    China's film sector in the last two decades has practically committed suicide due to sloppiness and salivating profiteering desperation. These diseases must be urgently purged from Chinese cinema.

    All of society should play a role in the revitalization. The creation of good scripts, the cultivation of film markets, the solicitation of adequate investment and government support will all be instrumental in delivering a new golden age of Chinese film. Enditem